Authors

Serikova Tatiana Yu., Simanzhenkova Tatyana K.
PAINTER’S CREATIVITY AND PERSONALITY IN THE CONTEXT OF ART CRITICISM (ON THE EXAMPLE OF THE CREATIVITY OF A.N. LIBEROV, B.Ya. RYAUZOV, M.Ya. BUDKEEV, N.D. GRITSYUK)

Architecton: Proceedings of Higher Education №4 (80) December, 2022

The article uses paintings by Siberian artists as empirical study material in the current context when regional art has become one of the priority areas of modern art studies, of which art criticism is a part. The focus is made on how the image of an artist is formed in art criticism works and what influence these works produce on readers. A critic's activity is considered as contributing to the communication between the author and the viewer. Art communication is given an emphasis because it is essential for co-creation between the author and the recipient to happen, for joint cognition of the world order and transmission of information containing the author's worldview, his artistic concept, and fundamental values acquired in the course of life. No doubt, art communication is impossible without a work of art, which is a trigger for the meeting between the painter and viewer to take place. Therefore prime attention is given to art criticism of the paintings. It is noted that commenting on artworks is becoming particularly relevant at the present time, the reason being extreme subjectivity of the figurative content of artworks.

Serikova Tatiana Yu., Nezgovorova Nina A., Strizhneva Nadezhda A.
CONTINUITY IN MODERN FINE ARTS OF SIBERIA (THE SCHOOL OF A.M. ZNAK. A.N. LIBEROV AND G.P. KICHIGIN. N.D. GRITSYUK AND M.S. OBMYSH-KUZNETSOV)

Architecton: Proceedings of Higher Education №4 (76) December, 2021

The work deals with the issue of continuity in visual arts. On the basis of logical-historical and formal-stylistic analysis of «master and pupil» artworks, the essence of continuity is defined as one of the ways of cognizing the surrounding reality. The object of the research is the paintings of Siberian artists created under the influence of A.M. Znak, N.D. Gritsyuk and A.N. Liberov. These were mentors for the outstanding contemporary artists K.S. Voinov, A.I. Volokitin, M.S. Ombysh-Kuznetsov and G.P. Kichigin, who began their journey in close collaboration with their teachers. The subject of the research is the process of transfer of creative attitudes from a teacher to his students and followers. The article also points out the intensification of interest in the fine art traditions of the Soviet period among currently working painters. Interactions between innovation and tradition and their impacts on modern art are considered

Moskalyuk Marina V., Serikova Tatiana Yu.
METHODS OF CONSTRUCTION OF SUBJECTIVE REALITY IN THE ARTWORKS OF PRIMITIVIST PAINTERS (WITH REFERENCE TO THE CREATIVITY OF I.Yu. VERPETA, Yu.D.DEYEV, V.F. KAPELKO)

Architecton: Proceedings of Higher Education №1 (61) March, 2018

The topicality of this study is due to the growing attention to the stylistics of primitivism in modern art. Creating a new world of images, the artist engages in an individual search for the ontological foundations of the universe. The phenomenon of professional painters turning to the themes and stylistics of primitivism implies freedom from the restrictions imposed by the classical vision of the world and indicates an aspiration to attain maximum expressiveness in constructing a subjective (author's) reality in the work of art. Primitivism is considered a type of artistic thinking going back to the archetypal foundations of the figurative language of fine art. The study is based on the creative heritage of Krasnoyarsk painters and makes a considerable contribution to the study of Siberian at in the second half of the 20th – early 21st century.

Serikova Tatiana Yu.
THE RELATIONSHIP BETWEEN THE CONSCIOUS AND THE UNCONSCIOUS IN PORTRAIT IMAGE

Architecton: Proceedings of Higher Education №2 (54) June, 2016

Using as an example the artworks of the Krasnoyarsk artists A. M.Znak, A.I. Volokitin and K.S. Voynov, the article examines the relationship between of archetypal (unconscious and subconscious) and conscious thinking (the use of formal means of painting) in contemporary art. The author argues that it is only a combination of formal methods and techniques consciously executed by the artist with archetypes the nature of which is the collective unconscious allows one to create a multi-level artwork which meets the requirements of art. Archetypes define the composition and color treatment of a portrait and push the boundaries of the visible, allowing one to significantly deepen the content of the artwork which is originally defined only as a presentation of the model’s appearance.

The analysis of paintings is based on both historical art methods (iconography and formal stylistic techniques) and the dialectical method inherent in philosophy and considers the relationship between phenomena and events.

Serikova Tatiana Yu.
THE GENERAL CULTURAL SITUATION OF THE 1960-1980s AND THE VISUAL IMAGE OF THE CONTEMPORARY IN THE CREATIVITY OF SIBERIAN ARTISTS

Architecton: Proceedings of Higher Education №1 (37) March, 2012

The article considers the effect of changes in public and cultural life on the outlook of the Soviet people. Those changes in the visual image of the contemporary are reviewed based on the paintings of the leading Siberian artists T.V. Ryannel, M.S.Ombysh-Kuznetsov, A. M.Znak, and G.I.Kichigin.

The late 1950s – mid-1960s is the period during which the emancipation of consciousness started to be felt in our society. The outlook of the Soviet people was changing, which was manifest in fine arts and in the creativity of 1960-1980s painters. Changes in the visual image of "the personality of the epoch» are reviewed in the article with reference to portraiture and narrative painting.

The visual image of the contemporary during the period the starting point of which may be considered to be the 20th congress of the communist party and the first manned space flight in 1961 changed by the 1980s-1990. The image of a romantic, unselfish patriot came to be replaced by that of an individual disappointed with the old ideological principles, bearing personal responsibility for his/her own actions. Keywords: «Khruschev thaw», portraiture, artistic image, «the Severe Style», industrial production themes

Serikova Tatiana Yu.
ARCHETYPES IN LANDSCAPE ART Contemporary Siberian landscape in the context of world art

Architecton: Proceedings of Higher Education №4 (32) December, 2010

The paper touches upon archetypes and archetypal images – an important theme in contemporary art. Using the works of the Siberian landscape painters as an example, the author considers the formation of visual images in works of art. Comparison is drawn between images crated by Peter Brueghel and today’s masters of Siberian landscape and raises the issue of visible image verbalisation.

Serikova Tatiana Yu.
INTERRELATIONS BETWEEN THE ARTISTIC AND THE VISUAL IN WORKS OF ART

Architecton: Proceedings of Higher Education №3 (31) September, 2010

The article touches upon the important theme of visuality in modern-day art. Using works by Siberian artists an example, the author considers visual images in works of art by masters of the past and the present, comparing images created by Leonardo da Vinci, Jan Vermeer, Peter Brueghel and artists whose works contain references to these images. Also, the issue of verbalisation of a visible image is touched upon.

Serikova Tatiana Yu.
VISUAL IMAGES IN WORKS OF ABSTRACT AND FIGURATIVE PAINTING WITH REFERENCE TO THE CREATIVITY OF SIBERIAN MASTERS

Architecton: Proceedings of Higher Education №2 (30) June, 2010

The article touches upon the topical issue of visuality in contemporary art. Using the works of Siberian painters, the author considers the formation of visual images in works of art, both abstract and figurative. The author compares images of the world of the supreme order, mountains and the underworld in paintings which are opposite in terms of expressive language. The issue of verbalization of an image is considered. Based on her analysis, the author concludes that the principles underlying the visual image are different for works of abstract and figurative art.